Lizzy McAlpine at Eventim Apollo: Are "living room" concerts the way forward?
- blondevibrations
- Nov 12, 2024
- 6 min read
After the fan disappointment of Lizzy McAlpine cancelling her UK dates on her 'The End Of The Movie' tour to 'figure out a way to tour that is easier and more sustainable', it's safe to say that we -- along with McAlpine's dedicated UK fanbase -- were eager to see her at a later date, with the artist feeling stronger and happier. Now, having attended McAlpine's show at Eventim Apollo on 24 October, it's clear that this work has absolutely paid off and is paving the way for artists to tour in new, healthier ways.
The show opened with 'The Elevator', the opening track of McAlpine's most recent album, 'Older' (2024), truly immersing the audience into this new era of her sonic landscape. The heavily instrumental, peaceful seven-lined song set the tone for the rest of the concert, providing her band space to demonstrate their strong musical abilities then McAlpine to join with her silky vocals.
Interestingly, the setlist takes a similar pathway to the album, 'Older', with the performance roughly following the trajectory of the album's track list, with the second song being 'Come Down Soon'. As McAlpine sings the first line of 'He leans out the window of the car as it rolls away' the audience roars in excitement, but then quietens down to hear the beautiful music being played before them. The crowd around us quietly hums along to the lyrics, with a gentle wave to the beat, and at this moment, it was clear to us that McAlpine has absolutely nailed the relaxed concert experience.
The stage design, while arguably stripped back and simple, is by no means boring or lazy. The warm-coloured lamps, with McAlpine sat in the middle of a lineup of her six band members, welcome the audience in to a music session with them. It's clear to see the closeness between the musicians, with McAlpine gushing over the return of Taylor Mackall after his brief break from the 'Older' tour to perform with Joni Mitchell, one of McAlpine's biggest inspirations currently. Having interviewed many artists and asking about the importance of bandmate dynamics, a common response is how vital that close relationship is in a sustainable touring experience. These musicians are who you are on the road with, and who you trust to support you on stage and portray the music in a way that you would want to hear it. McAlpine clearly has found this in her six-piece band, and the joy that they all share when performing is infectious to the onlooker.
A track that really stood out on 'Older' to me was 'All Falls Down', with its buzzing brass lines yet brutally honest lyricism, and I knew that the live rendition of this tune was in safe hands with McAlpine. Changing the iconic line of '23 and a sold-out show' to reflect her current age of 25 was a crowd-pleaser, with the sold-out crowd cheering in approval. You couldn't help but reflect upon McAlpine's previous conflicted emotions on touring, and admire the growth from that girl who 'would probably cry after you go home'. The incredible sound of McAlpine and her band during this song, paired with the relaxed watching experience, made this concert feel more like watching an orchestra rather than the classic overwhelming, crowded gig experience -- and it feels like this really suits both McAlpine's discography and brand.
Online, and in an interview with Zach Sang, McAlpine confesses that her last record didn't 'feel right' due to the addictive nature of trending music. Therefore, there are only three songs from her second album, 'five seconds flat' on the setlist, which to a McAlpine fan, was a sad piece of news to hear. However, it is a testament of the importance of an artist resonating with the music they are playing on stage as it is ultimately an incredibly vulnerable experience. While as a fan you are entitled to feel disappointed by this news, as someone who attended the 'Older' tour and was a big fan of that album, it truly does not feel like you are missing out on anything by not hearing those additional songs. Plus, it makes you appreciate the few that you do hear even further -- and it is better to see your artist content with their own setlist, rather than tailoring it to the fans. 'doomsday' live was nothing short of breathtaking, and the awe was shared by all of the fellow fans around us.
The namesake of McAlpine's recent album (and consequently, this tour), 'Older', instigated another discussion of the process of making the album. McAlpine sets the scene of these tracks being made, and this adds to the attending experience feeling like you've been teleported into the studio in which this beautiful project has been created. Much like the story McAlpine shares of 'Spring Into Summer', that she and the band previously wrote the first draft shortly before going on stage then performed in that night, these narratives solidify that everything to do with this album has been an enjoyable experience that McAlpine wants to share with her fanbase. It was so lovely to hear, and then watch watch these songs had become in the end.
A wonderful addition to the setlist was 'Angelina' at the beginning of the encore, this show's surprise song. Something that added to McAlpine's casual nature with this tour was the running joke of the absurdness of a fake encore, the charming air quotations around "goodbye" before briefly leaving the stage for a few moments added to McAlpine's groundbreaking experimentation with a new form of touring that doesn't encourage artist burnout. This rendition of 'Angelina', taken from McAlpine's older EP, 'When The World Stopped Moving' (2021) was all-encompassing and intimate, as an acoustic solo with only a spotlight on McAlpine sat alone on the stage. As one of the first songs that I, and many other fans, heard from McAlpine, this felt like a full-circle moment, and felt like a truly magical memory in Eventim Apollo.
The final two tracks of the setlist were 'Pushing It Down and Praying' and 'ceilings', the lead single of McAlpine's deluxe edition of her album -- 'Older (and Wiser)'. Both of these tracks are iconic in their own right. No one can deny the flawlessness of 'ceilings', regardless of your opinion of TikTok virality, the song is popular for a reason. For a crowd that had politely and peacefully watched the earlier eighteen songs, this was their time to shine and have their cathartic moment, screaming 'But it's not real / And you don't exist / And I can't recall the last time I was kissed' at the tops of their lungs. Having bumped into a previous Blonde Vibrations guest before the show, who exclaimed 'I can't wait, I'm going to cry so much!', it truly shows how important McAlpine is to her fanbase: putting emotions and experiences to words that so many other people can relate to.
The "living room" concert experience is becoming an increasingly popular choice amongst artists, partially following the wave of the popularity of NPR's Tiny Desk series, for the sustainability of the artist's health on stage. In a discussion with an artist for our 'Tuning In' series (this interview is yet to come out!), we spoke about the difference between a recording artist and a performing artist and the validity of both types. "Living room" concerts provide a space for those who don't want to do an Eras Tour inspired performance to spotlight their talents and strengths in a way that feels reflective of their own style. I spoke with a friend who went to the second Eventim Apollo date, sharing the calming and positive crowd experience, wondering if it was pure luck, and she shared that it was the same feeling the day after. On the 'Older' tour, it is clear that McAlpine's efforts to make a tour -- and show -- feel as comfortable as possible then benefits the audience, too. This concert experience was truly an experience like no other, and I hope other artists follow McAlpine's pioneering ways to ensure artists stay healthy and happy in their touring experience.
Tickets were kindly provided by Lizzy McAlpine's team, but all opinions are of our own. Thank you to Lizzy and her team!
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